“History, Blossoms, Labor, Silence”
Chongqing rose up as accompany capital of China under the impact of western modern culture during World War II and started the progress of transition and fusion of modern urban communities into Bashu rural areas.
Modern industries pored into the West area during the Cold War in the 60s. Chongqing became the modern pivot under West Development Strategy connecting the cities and countryside in the west China as a municipal city.
The separation of urban and rural fields in Chinese society have entered into an new era of constant change and structural reconstruction in the process of revitalization of China.
The great mountains become natural protection for Bashu area and in the mean time bring about obstruction for exchanges in the hinderland of China.
The local culture of Chongqing has a strong feature of originality and primitivity where the history and social ecology from the farming cultivation civilization remain distinctive.
“Through distance, through the length of time, I see the place of growth”
We have heard the echoes of folklore culture in Caijiazhen town while the Farming Culture Museum continues to preserve the original culture in the Bayu area.
We have witnessed the modern pace of modernization in the rural China society in Beibei District. The urban and rural society torn apart and the fields of changing generations.
The anxiety, contradictions, confusion and imagination of Chinese society use art to present in the historical fields.
“In the thin loam, each rock a word.”
We resort to cross disciplinary cooperations.
In the rapid changing world, we struggle to find the connections between the isolated island of knowledge and art and the Chinese society.
DLAF 2018 will pull up the curtain on Sept.29, 2018 with 59 artists, 4 Forums, 9 workshops and 22 guests.
Under the theme of One Belt One Road Strategy, Making Comparison to Polish art ecology
Explore the artistic possibilities between urban communities and rural villages.
Dialogue between new public art and natural ecology.
Discussion of how to use art as new power to pass on and rebuild local folklore cultures as the southwestern craftsmanship, Nuo opera, Straw Dragon etc.
Linking to young artist groups from Sichuan Fine Arts Institute, China Academy of Art, Academy of Fine Arts in Shanghai
DLAF 2018 adopted joint curation system unprecedentedly to present the art festival in four sections: Fate of History, Response of Humanity, Demand of Nature, Logics of Knowledge, containing contents from art workshops, onsite art creation, forum and on-site screening etc.
As the core hub city of the national strategy such as “Western Development”, “One Belt and One Road” and “Chengdu-Chongqing Economic Belt”, Chongqing is the turning point of the historical destiny of China.
Beibei in Chongqing is an inevitable choice of history. The construction of Beibei Township in China has laid a national vision of the modernization of China. It is not only of significance, but also with the necessity of geopolitics. It has the same geopolitical reason for choosing the location of the accompanying capital during the world war II. Therefore, the Chinese Rural Construction Institute is also located in Beibei.
Chongqing Bayu Farming Culture Museum and its surrounding area
It was 2006 when the first batch people get together considering the preservation of the farming culture in Bayu Area. Then it inevitably developed as a gathering place for the topics and scholars of Chongqing countryside construction, attracting experts such as Wen Tiejun focusing on Countryside, Agriculture and Farmers.
Located in Cai Jia Gang street Beibei District, former Cai Jia Gang town, Chongqing Bayu Farming Culture Museum is a rural family-style public welfare folk museum, founded by the 76-year-old deceased teacher Yingsheng Liu and his son Gang Liu and his family, which has been free to the public for more than 10 years. In order to excavate, protect, inherit and educate the concept of farming culture, it has voluntarily received tens of thousands of visitors from home and abroad, and has carried out hundreds of educational practice activities for colleges, high schools, primary schools and community residents.
The Museum covers an area of about 1.65 acres, including more than 2,000 square meters for exhibition halls and exhibition rooms. It displays various production tools and living utensils in the farming era and is divided into three parts: production, life and folk customs— “production”part includes agriculture, industry and commerce. “Life’”part includes clothing, food, housing, and transportation. “Folk customs” include festival culture, children's recreation culture, marriage customs, and witch culture, etc.
In order to make the farming utensils more understandable, Mr. Liu used the local dialect to create over 1000 doggerel poems for old objects, and wrote Chongqing Bayu Farming Culture Picture Dictionary·Poetry Collection. He made these doggerel poems into labels for the brief introduction of the historical relics. Through the organic combination of poetry and relics, Ba Yu farming culture has been strongly popularized and spread. For retaining the memory of the city, Yingsheng Liu and his son spent more than 10 years walking around Caijia and its surrounding areas on foot, painting many maps of “hometown original appearance” before 1949, which are "Caijia Slate Map", "Caijia Farming Map", "Caijia Old Street Shop Map" and "Yuelai Market Store Map". These disappearing historical cultures are now “reborn” in the four hand-painted maps exhibited in the Museum.
In addition, the “Caijia Straw Dragon”, which was inherited and excavated by Yingsheng Liu , has been included in the list of intangible cultural heritage of Beibei District of Chongqing, and is known as “the third dragon in Chongqing”. The “Caijia Straw Dragon”, which was compiled with straw, was innovated in the inheritance and passed down in innovation. It has been more and more popular among the masses, especially the young people and has been passed down to many primary and secondary schools, military units and communities across the country.
In 2014, Mr. Yingsheng Liu was jointly selected by Renmin University of China, the National School of Administration and other universities and units as the “Top Ten People of the Year” in the First “Devotion to Homeland” Ceremony.
In January 2016, the first “Devotion to Homeland Chongqing Forum” was held at the Ba Yu Farming Culture Museum. Deputy director of the economics department of the National School of Administration, Professor Xiaode Zhang, who is also the director of the China Rural Civilization Research Center, and Dagang Li, the deputy director of the Chongqing Cultural History Museum, jointly unveiled Devotion to Homeland Workstation of the Ba Yu Farming Culture Museum.
In 2017, under the support of the Yongqing Shi Fund, the Chongqing Bayu Farming Culture Museum was renovated and repaired. In November, the Museum held the second “Devotion to Homeland Forum” with the theme of “Retaining Homesickness and Revitalizing the Village”. More than 100 experts, scholars and practitioners from Beijing, Liaoning, Inner Mongolia, Shanxi, Henan and other provinces gathered in the Museum. Professor Tiejun Wen, a famous expert focusing on Countryside, Agriculture and Farmers, and the executive director of the China Rural Construction Institute of Southwest University, delivered a speech. Professor Mingming Zhou, deputy director of Zuofu Lu Research Center of Southwest University and president of Beibei Urban and Rural Cultural Construction Promotion Association, jointly unveiled the “Chongqing Bayu Farming and Living Education Museum” with professor Wen.
In January 2018, China's “Friends of Ancient Villages” established the first volunteer activity base in Chongqing at the Chongqing Bayu Farming Culture Exhibition Hall. In June 2018, Liu Gang participated in the Third Social Force Participation Cultural Relics Protection Forum held by the China Cultural Relics Protection Foundation (National Cultural Relics Bureau) in Beijing. The Chongqing Bayu Farming Culture Museum was also selected as one of the first batch members of Chinese Cultural Relics Protection and Utilization Social Organization in the conference.
At present, the Chongqing Bayu Farming Culture Museum has fully utilized the educational functions of the museum and extensively cooperated externally to become the education and teaching practice base of major primary and secondary schools, kindergartens, communities and military units. For example, the Museum cooperates with the Department of Education of Southwest University and the Caijia Liangjiang Mingju Primary School to take care of the left-behind children in the city who have psychological problems such as anxiety, loneliness and self-blame. In 2017, the Aesthetic Education Resource Curriculum Combined System Construction Project, which was launched by this exhibition hall and the Southwest University, won the gold medal in the first Chongqing University Volunteer Service Project Competition. The “Beibei District Culture Class”, which was built with the Museum as the teaching point, won the gold medal of the first Chongqing Volunteer Service Project Competition and was awarded the National Lifelong Learning Activity Brand by the China Adult Education Association.
What’s more, the Chongqing Bayu Farming Culture Museum has become the education, teaching and research practice base for over 20 schools and institutions in the country, such as Rural Development Committee of the World Green Design Organization , the National School of Administration, China Rural Civilization Research Center, Renmin University of China, China Agricultural University, and Southwest University, etc.
Necessity of Cross-discipline: the group of local artists together with other intellectuals have become the isolated islands in the process of losing identity failing in participation of social fields under the context of intensified extension of globalization in Chinese society in the past two decades.
Art and Countryside, Agriculture and Farmers, The Inevitable Encounter in Present Society.
The return of art to the traditional countryside is the self-consciousness and reflection of art, where we will meet the guardians of the countryside - the tribe of scholars in Countryside Agriculture and Farmers. We hope that from this point of view, we can connect the isolated islands of knowledge and resume the tradition of China.
联合策展人 | Cooperative Curators：
顾问团 | Advising Committee：
90后青年主体的必然性 | Inevitability of Post-90s Youngsters
The fact that the world after the Cold War is a globalized world created by international neoliberal capital is the main historical basis for China’s post-90s generation. But the future must be the overlap of both past and future. This is the time for us to talk about the return and the opportunity of the intuition experiment of the intellectual group. This festival is to practice this historical consciousness under the condition that the post-90s young artists as main force of participation.
Young artists participating in this festival are:
4 Postgraduate students from the Public Art Department, Sichuan Fine Arts Institute;
6 Postgraduate and undergraduates from the China Academy of Art;
10 Postgraduate students from Shanghai Academy of Fine Arts;
9 From Rural Revitalization and Folklore Arts Promotion Studio of Sichuan Fine Arts Institute;
12 From Cross-media Studio of Sichuan Fine Arts Institute;
1 From Department of Art and Social Major, New Media Art Department, Sichuan Fine Arts Institute;
4 From Ecological Art Team of Sichuan Fine Arts Institute;
8 From Firewood Youth Performance Art Group;
11 New young artists.